‘Django & Django’: This Supposed Sergio Corbucci Doc Mostly Caters To The Musings Of Quentin Tarantino [Venice Review]

Quentin Tarantino has claimed in several interviews that Westerns, more than any other genre, reflect the “values and problems” of the era in which they were made. If that’s true, audiences are in for a vivid temperature check with “The Harder They Fall,” an upcoming neo-Western from Netflix.

Quentin Tarantino has claimed in several interviews that Westerns, more than any other genre, reflect the “values and problems” of the era in which they were made. If that’s true, audiences are in for a vivid temperature check with “The Harder They Fall,” an upcoming neo-Western from Netflix.

revealed in a new interview for GQ. “In the early part of my career … I didn’t want to show black people in that light.”The multi-hyphenate actor-rapper-producer continued: “I wanted to be a superhero.

The filmography of Will Smith is filled with projects of all shapes and sizes. From alien invasions (“Independence Day”) to superheroes (“Hancock”) to post-apocalyptic horror (“I Am Legend”) to full-on comedy (“After Earth”…I kid, I kid), Smith has done just about every genre of film.

Uma Thurman, 51, just fueled some serious nostalgia for all the Kill Bill fans out there. Nearly 18 years after the first flick from Quentin Tarantino‘s martial arts film series was released, Uma slipped on her iconic yellow jacket with black stripes that she wore to play the Bride in an epic new Instagram photo. And Uma wasn’t alone for the snapshot — her 9-year-old daughter Luna Thurman-Busson joined in and even wore her own matching Kill Bill jacket!

Last Night in Soho.Wright explained to Total Film that the Pulp Fiction filmmaker – also his longtime friend – inspired him when discussing a song by Dave Dee, Dozy, Beaky, Mick & Tich.“In Death Proof, Quentin uses a Dave Dee, Dozy, Beaky, Mick & Tich song, ‘Hold Tight’,” Wright said.“I was talking to him about that song, and that band, and he said, ‘Have you ever heard ‘Last Night in Soho?’’ He played it for me, and he goes, ‘This is the best title music for a film that’s never been made.’”The

Even if you have trouble with the idea of God, says veteran producer David Puttnam in Ennio, Giuseppe Tornatore’s rapturous paean to his late collaborator Ennio Morricone, when you hear his music, “you can hear that there is something out there.” By the standards of Ennio, the suggestion that God dwells in Morricone’s music is nowhere near over the top. “He’s my favorite composer,” whoops Quentin Tarantino, in a torrent of enthusiasm ferocious even by his standards.

Nick Vivarelli International CorrespondentItalian pop culture expert, programmer and director Luca Rea first became acquainted personally with Quentin Tarantino in 2004 when he curated the “Italian Kings of the B’s” retrospective at the Venice Film Festival that Tarantino “godfathered.” They hit it off and stayed in touch.

In shades of the gunmetal gray that has become the grading palette of choice for Serious Historical Epics — possible because arterial blood spray shows up so nice and red against it —Ridley Scott‘s starry, surprisingly engaging “Rashomon“-inflected “The Last Duel” opens on the wintry December day of the duel in question.

The talent and influence of Italian composer Ennio Morricone, who died in 2020 aged 91, is undeniable. Synonymous with Sergio Leone’s spaghetti westerns and the instantly-recognizable “wah-wah-wow” theme-tune to “The Good, The Bad and The Ugly,” the extent of his output was phenomenal at over 500 film scores.

When it was originally announced that Quentin Tarantino, famed director of films such as “Pulp Fiction,” “Reservoir Dogs,” “Inglourious Basterds,” and more, would be working with Paramount on a new “Star Trek” film, people were either confused and worried or completely excited by the prospect.

When it was originally announced that Quentin Tarantino, famed director of films such as “Pulp Fiction,” “Reservoir Dogs,” “Inglourious Basterds,” and more, would be working with Paramount on a new “Star Trek” film, people were either confused and worried or completely excited by the prospect.

“True Things” is a “romantic” drama that is not romantic in the slightest. In the tradition of films like Catherine Breillat’s “Romance” and Adrian Lyne’s “9 ½ weeks,” the focus is on what is revealed about a female protagonist by how much she is willing to sacrifice to briefly experience passion with an unreliable yet sexy man.

Like finding a grubby, balled-up bill in your spangly g-string and uncrumpling it to discover doughy old Ben Franklin staring benignly back at you, Ana Lily Amirpour‘s third feature is a sweet, scuzzy surprise made all the sweeter/scuzzier because you don’t know quite what you did to deserve it.

tweeted.Another commented: “Just learned that brad pitt happily chose to work with Angelina Jolie’s abuser and I sincerely hope brad pitt gets kicked in the f—ing nutsack.”Fans were responding to Jolie’s revelations in a new interview with The Guardian published Saturday.

A poetic meditation on film, history, and loss, “Three Minutes – A Lengthening” gives a glimpse into a lost world and then unpacks just how much can be learned from that brief fragment. While on a grand tour of Europe in 1938, David Kurtz, a Polish-American man, traveled to Nasielsk, the town of his birth, and brought with him a 16mm camera filled with Kodachrome, a novelty at the time.

“Why does it take so long to break up? Why does no one talk about the fact that [divorce] is endless trauma?” Jessica Chastain asks in a heartbreaking moment from HBO’s devastating marital and breakup mini-series “Scenes From A Marriage.” A modern adaptation of Swedish filmmaker Ingmar Bergman’s brutally emotionally honest 1970s series, now written, directed, and executive produced by Israeli filmmaker Hagai Levi, (“Our Boys,” “The Affair,” and “In Treatment”), this new HBO version is intimate,

There are shades of Ruben Ostlund’s “The Square”, if it were remade to target the film world, in Mariano Cohn and Gastón Duprat’s crowd-pleasing Spanish comedy “Official Competition” starring Penélope Cruz and Antonio Banderas. Controlled pacing, visual punchlines, and an insider knowledge of the varied pretensions within filmmaking make this a consistently amusing – if never downright hilarious – vehicle for the well-honed comic sides of two of Spain’s most famous exports.

Benedetta star Virginie Efira plays a woman leading a double life in drama Madeleine Collins which premiered in the Venice Days section of the Venice Film Festival today. Also doubling up in Venice by serving on the competition jury, Efira puts in a terrific performance in Antoine Barraud’s taut relationship pic that veers into thriller territory.

Ruth Wilson puts in a riveting performance in Venice Film Festival Horizons entry True Things, an impressive follow up to director Harry Wootliff’s debut Only You. Wilson and Jude Law are also among the producers for this intense story, based on the novel True Things About Me by Deborah Kay Davies.